THE VERDICT
M&K’s system is perfect for the movie lover and extremely capable for the discerning audiophile.

It was in February 2000 when I was in a hi-fi store looking at some new electronics and stumbled upon a salesman giving a speaker demonstration to a married couple. I decided to listen in to see if anything piqued my interest. The salesman went through a number of different speakers, and I didn’t hear anything remarkable until his last demo: M&K Sound S150s coupled with an MK350 subwoofer. I don’t recall the exact track he played, but my jaw dropped when I heard the sound emanating from the speakers. It was as if the entire wall came alive, and I couldn’t pinpoint which speakers were active. Much like the wand picking the wizard in Harry Potter, these speakers picked me, and I knew I’d have to own them.

Sadly, it took me three years to convince She Who Must Not Be Crossed to give her blessing, but I’ve been in audio bliss for over 10 years now with a trio of S150s across the front soundstage and four SS150s across the rear of my home theater.

AT A GLANCEPlus
Big, highly dynamic sound
Super easy to drive
Made in the U.S.
Minus
Limited dispersion
Must be used with a
subwoofer

THE VERDICT
It may not be a universal solution, but for buyers seeking wide dynamics in a fairly compact speaker, the Zu Audio Cube delivers a big sound.

I’ve heard my share of tiny cube speakers with 3- or 4-inch woofers, and while the best of them can sound decent enough, the Zu Audio Cube is a very different beast. It’s still a compact speaker, but big by comparison to those pipsqueaks—big enough to house a 10-inch driver. That ability to move air makes no small difference, and trust me on this: The Cubes are turn-it-up-and-party speakers.

What if you needed two throats to speak? Sounds a bit cumbersome, right? But that’s how a two-way loudspeaker usually treats the human voice. Its drivers divide the midrange frequencies where the voice resides into two parts, sending higher frequencies to the tweeter and lower frequencies to the woofer. While the crossover varies from speaker to speaker, the frequencies that handle the voice usually get split right in the region where human ears are most sensitive to vocal timbre.

Of course, good speaker designers routinely surmount this obstacle to natural vocal sound, either by carefully tweaking their two-way designs or by going to three-way designs that dedicate a separate driver to midrange reproduction. But the three-way approach adds two more crossover sections, potentially leading to other troubled areas of reproduction.

Even in our industrial twilight, the USA still has a cornucopia of great loudspeaker brands, and Pinnacle Speakers is one of them. Since the company’s founding in 1976, it has always been a family-owned business—and if there’s one kind of outfit you don’t want to mess with, it’s a family outfit. I haven’t reviewed a Pinnacle product in eight years, but just when I thought I was out, they pull me back in.

A limousine screeched to a halt outside my building, and two bulky guys in Men’s Wearhouse suits got out. They didn’t leave me much choice: I was blindfolded and driven around for hours and hours until I had no idea where I was. At one point, I thought I smelled Secaucus, New Jersey. Another time, the blindfold slipped, and out of the corner of my eye I saw Satriale’s Pork Store.

AT A GLANCEPlus
Big sound with undistorted, low bass
Separate, built-in amplifiers for the woofer and tweeter
Controls for fine-tuning bass and treble
Rock-solid MDF cabinetry
Minus
Requires interconnects and power to each speaker

THE VERDICT
A remarkably dynamic system with solid bass, airy highs, and wide imaging—with no amplifiers needed.

At first I wasn’t sure about the prospects for reviewing Emotiva Pro’s new Stealth speakers, if only because they’re bona-fide studio monitors. But after conferring with Dan Laufman, the designer and CEO, I was eager to try them. Turns out the Stealths are easily domesticated, and since they’re internally biamplified—there’s one amp for the tweeter and another for the woofer—I didn’t need to use a receiver, power amp, or surround processor for this review.

THE VERDICT
Big, bold, bombastic sound from a relatively small and quite affordable package

I love double irony, that wonderfully weird phenomenon whereby a seeming incongruity loops right back around and becomes all too apt. Take the guy who names his Chihuahua Killer, for example, which seems like fun and giggles at first glance, until the little bugger tries to eat the face right off of your skull for want of a Snausage. Take also Monitor Audio’s compact MASS (spelled just like that, in all capital letters), a 5.1-channel home theater speaker system that continues the company’s trend of delivering complete home theater speaker systems in increasingly small, though typically traditionally shaped, packages. (Search the monitoraudiousa.com domain for the word diminutive, and you’ll see what I mean.) At first glance, you can’t help but think that whoever decided to hang such a MASSive moniker on a delicately tapered, lantern-like satellite speaker this small certainly had some chutzpah. And lifting one of the dainty 3.64-pound satellites does nothing to abate that initial urge to chuckle, no matter how solidly built and sturdy it may be.

THE VERDICT
A sub/sat system whose great strengths are its midrange clarity, wide dispersion, and décor-friendly form factor.

The interaction between speaker manufacturers and the public they serve has changed markedly since the days when I was a longhaired college kid buying my first speakers. Back then, design ideas flowed in one direction, from the top down, from the drawing board to the sales floor—and if you bought a speaker, you nearly always bought a box speaker. Now speaker-design imperatives flow in both directions. With a greater variety of beckoning form factors, speaker buyers influence the design process simply by choosing the products that fit into our lives.

THE VERDICT
A pricey speaker system that offers an edge to those who want the very best.

Sony has always had a sense of its own destiny that transcends any one of its multifaceted operations. To gamers, it is the guardian of the PlayStation franchise. Moviegoers know it as the owner of Sony Pictures, while music lovers know it as the home of Dylan, Springsteen, and Adele. Tech historians recall how Sony’s small transistor radios and Walkman cassette player, respectively from the 1950s and ’70s, paved the way for the iPod in the ’00s. Cutting-edge computer audiophiles are excited about the potential of Sony’s DSD file format to transform the nascent world of high-resolution music downloads.

The debut of the SVS Ultra speaker line prompts me to reconsider a question that’s been lurking at the back of my mind for years: Is SVS one of the great American speaker brands?

As a company founded in Ohio and initially operated out of a garage, SVS has all the right narrative elements of a great speaker brand. The company has built a reputation for making brilliantly unorthodox subwoofers and pretty good speakers—versus the scads of respectable brands that put most of their brilliance into speakers and treat subs as an afterthought. In the past few years, the story has added a few new chapters, with new heavy-hitter personnel in management and product design and a manufacturing move from Ohio to (where else?) China.

Compact satellite/subwoofer sets are often affordable, mate well with budget receivers, allow more speaker-placement width than soundbars, lend themselves to wall mounting—and best of all, they don’t hog the room, even if you place them on stands (which would usually produce the best sonic results). What Justice Anthony Kennedy’s swing vote is to the Supreme Court, the spouse acceptance factor is to loudspeaker genres, and the elegant compactness of a sat/sub set just may be the tiebreaker, the factor that makes the difference between having or not having a surround system. Sat/sub sets continue to be the most underrated product category in home theater.

Merriam-Webster.com defines a cabal as “the artifices and intrigues of a group of persons secretly united in a plot (as to overturn a government),” or “a group engaged in such artifices and intrigues.” For the past 30 years, Axiom Audio has been part of a Canadian cabal of loudspeaker manufacturers secretly united in a plot to overturn bad sound—ironically, with government support. The Ontario-based company is one of several brands that sprouted from Ottawa’s National Research Council facilities where Axiom founder and president Ian Colquhoun learned the art and science of speaker design under the legendary Dr. Floyd Toole.

Why do we say “secretly united”? Axiom is one of those well-kept secrets of the audio world, and that’s partly our fault. The company has been designing and manufacturing its products in Canada, right under our North American noses, yet this is the first review we’ve done on an Axiom product in about 20 years, despite the accolades the brand has attracted in the interim. So we’re playing catch-up with this review of Axiom’s Epic Midi 125 5.1-channel speaker package, which includes two monitors and a center in the front, dedicated diffuse surrounds, and a subwoofer. Let’s just say the secret is out.

If you read a lot of British novels, eventually you’ll run across a reference to an announcement “on the Tannoy” in a train station or airport. In the U.K., the birthplace of Tannoy Ltd., the loudspeaker brand is a synonym for public-address system. No other speaker manufacturer in the world enjoys this distinction, though it comes at a price: The Tannoy people are constantly firing off letters to publications that make the mistake of using tannoy generically, without the proper cap-T to indicate its trademark status.

Trivia buffs may be surprised to discover that the firm was founded in 1926 as the Tulsemere Manufacturing Company in England. Not until 1932 did the brand name become Tannoy, an abbreviation for tantalum alloy, a material used in the electronic guts of its early products. Tannoy relocated its design and engineering center to Scotland about a half-century later, and for the past decade has been owned by the Denmark-based TC Group.

“A Book of Verses Underneath the Bough/A Jug of Wine, a Loaf of Bread—and Thou.” So runs the most famous translation of The Rubáiyát of Omar Khayyám. The essence of the quotation is we need only a few basic things to attain happiness, and the Persian poet seems to imply that the fewer, the better. So what does it take to make you a happy listener? Does an audio system invariably have to follow the traditional model of speakers, amp, and source components?

Phase Technology is one of the great American loudspeaker makers. The man behind that achievement was Bill Hecht, a genuine first-generation audio pioneer. This review can’t begin without noting his passing last fall at age 89, the end of a life devoted to bringing movies and music into both the public and private realms.

Hecht began his career as an expert in Cinemascope Stereophonic Sound, installing systems at New York’s Radio City Music Hall and other pleasure palaces. His company United Speaker Systems (USS) launched in 1955 as he hand-built speakers, including drive units, in his garage. USS got a boost when Avery Fisher offered a commission to build the first Fisher loudspeakers. Hecht earned several patents, most notably for developing the soft-dome tweeter. He also patented a self-damping woofer voice coil, a manufacturing process for flat piston drivers, silicon-injected drivers for resonance damping, and a basketless midrange/woofer mounting system.

Compact cube speakers are an intriguing subset of the satellite/subwoofer speaker genre. Though not invariably high performers, cubes have achieved iconic status, and some manufacturers have made a fortune marketing them to folks whose significant others look at the diminutive geometric forms and say, “Bingo. That’s what I want your speakers to look like. Now get those big tombstones out of our den.”

Cambridge Audio has tapped into the cube mystique with its Minx sat/sub sets. In fact, the Minx has done so well that it is now a separate division of the company. Part of the Minx suc-
cess story is, believe it or not, performance. The first-generation Min 10 (single cube) and Min 20 (double cube) earned rave reviews all over the place, and the single-
cube version found a coveted perch on our Top Picks list.